Utjecaj Frane Petrića na Romeijevo razumijevanje ljepote i ljubavi

With their works Frane Petrić (Francesco Patrizi da Cherso) and Annibale Romei contributed to the Late Renaissance trattatistica on beauty and love. Petrić (Cres, 1529 – Rome, 1597) outlined his views on beauty and love in two manuscripts: the dialogue Il Delfino, overo del bacio (before 1560, editio princeps in 1975) and an unfinished manuscript, L’amorosa filosofia (ca. 1577, editio princeps in 1963) composed of four dialogues. Petrić also wrote about these topics in a more concise form in his printed “Discorso” included in Le rime di Messer Luca Contile (1560), whose focus was not on love and beauty, but on the process of poetic creation. However, in the mentioned treatise Petrić comes forward with his main views on love and beauty. Annibale Romei (Ferrara (?), between 1523 and 1530 – Ferrara, 1590), a noble man of Ferrara, published his Discorsi ... divisi in cinque giornate in 1585, and its extended version Discorsi ... divisi in sette giornate in 1586. This paper analyzes the first two treatises in Romeiʼs Discorsi: Della bellezza and Dell’amore humano. Frane Petrić, commended as an excellent connoisseur of issues regarding beauty and love, was invited in Romei’s Della bellezza to hold an introductory speech about beauty. In the second treatise on love, this honour was bestowed upon Battista Guirino, who in his speech draws directly upon Petrić’s teaching on beauty elaborated the day before. Romei was familiar with Petrić’s writings on beauty and love. In his Della bellezza, Romei adopts Petrić’s views as presented in his Discorso on Luca Contile’s love sonnets. In Romei’s treatise Dell’amore humano, on the other hand, one may detect not only the influence of Petrić’s Discorso, but also significant similarities with Petrić’s views as outlined in both his Il Delfino overo del bacio and L’amorosa filosofia, some of which can also be found in Petrić’s early works from 1553. While Petrić’s impact on Romei’s first treatise is irrefutable, solid arguments in favour of indisputable influence of Petrić’s unpublished works on Romei’s treatise on love cannot be provided. However, the correlations in their views cannot be disputed. All the similarities highlighted here clearly confirm that Petrić and Romei deal with beauty and love within the Platonic and Neoplatonic tradition. Despite the fact that the influence of Petrić’s views can be easily recognized in a number of Romei’s arguments, Romei confirms himself as an original thinker when he argues that physical beauty is a matter of subjective opinion. Romei’s original views also include his consideration of the relationship between beauty and ugliness, and, finally, his insistence on emphasizing the role of the intellect and free free will in the experience of love.Frane Petrić (Francesco Patrizi da Cherso) i Annibale Romei sudjelovali su u kasnorenesansnim raspravama o ljepoti i ljubavi. Petrić (Cres, 1529 – Rim, 1597) je svoje stavove o ljepoti i ljubavi izložio u dvama rukopisima: dijalogu Il Delfino, overo del bacio (prije 1560, editio princeps 1975) i u nedovršenom rukopisu L’amorosa filosofia (oko 1577, editio princeps 1963) sastavljenom od četiri dijaloga. Petrić je o navedenim temama također pisao u kraćoj formi u svom tiskanom “Discorso” pridodanom djelu Le rime di Messer Luca Contile (1560), u kojem glavna tema nisu ni ljubav ni ljepota, već sam proces pjesničkog stvaranja. Ipak, u toj raspravi Petrić izražava svoje glavne stavove o ljepoti i ljubavi. Annibale Romei (Ferrara (?), između 1523 i 1530 – Ferrara, 1590), plemić iz Ferrare, objavio je svoje Discorsi ... divisi in cinque giornate 1585. godine, a proširenu verziju Discorsi ... divisi in sette giornate 1586. Rad analizira prve dvije rasprave toga Romeijeva djela: Della bellezza i Dell’amore humano. Frane Petrić, hvaljen kao vrstan poznavatelj pitanja koja se tiču ljepote i ljubavi, pozvan je da u Romeijevoj raspravi Della bellezza započne govor o ljepoti. U drugoj raspravi o ljubavi, čast da prvi govori pripala je Battisti Guirinu, koji se u svom izlaganju izravno naslanja i nadovezuje na Petrićevo učenje o ljepoti o čemu se raspravljalo dan ranije. Romei je bio upoznat s Petrićevim djelima o ljepoti i ljubavi. U svojoj raspravi Della bellezza Romei je usvojio Petrićeva gledišta izložena u teorijskom komentaru Contileovih ljubavnih soneta, dok se u raspravi Dell’amore humano, pored utjecaja spomenutog komentara, mogu uočiti sličnosti s Petrićevim stavovima izloženima u Il Delfino overo del bacio i L’amorosa filosofia. Dok je Petrićev utjecaj u prvoj Romeijevoj raspravi nedvojben, u drugoj raspravi nije moguće, s izuzetkom njegova Discorso, argumentirati u korist neporecivog utjecaja Petrićevih neobjavljenih djela na Romeijevu raspravu o ljubavi. Međutim, sve ovdje istaknute sličnosti jasno potvrđuju da Petrić i Romei o ljepoti i ljubavi promišljaju iz okvira platoničke i novoplatoničke tradicije. Unatoč brojnim Romeijevim argumentima u kojima se može lako prepoznati Petrićev utjecaj, Romei je pokazao i svoju originalnu misao koja se najbolje uočava na onim stranicama gdje tumači da je tjelesna ljepota stvar subjektivnog mišljenja. Tomu treba pridodati i Romeijev interes za promišljanje odnosa ljepote i ružnoće te, naposljetku, njegovo inzistiranje na isticanju uloge intelekta i slobodnog izbora, tj. slobodne volje u ljubavnom iskustvu

Understanding beauty and love in the lyrics of Fran Krsto Frankopan

U radu se istražuje gdje se Fran Krsto Frankopan u opisu ženine ljepote i vlastita doživljaja ljubavi približava petrarkizmu, a gdje, i u kolikoj mjeri, iz estetičke perspektive, usvaja platonovske i novoplatonovske koncepte ljepote i ljubavi. Frankopanovo pjesničko djelo dokaz je njegova značajnog prinosa razvoju barokne estetičke misli u kontinentalnoj Hrvatskoj. U vrijeme kada u kulturnom, javnom životu i književnom radu kontinentalne Hrvatske, koja se nalazi u teškom položaju uzrokovanom dugogodišnjim ratovima i nepovoljnim političkim okolnostima, prevladavaju djela religioznog i moralno-poučnog, didaktičkog sadržaja, usmjerena na vjersku tematiku, na isticanje pobožnosti i kreposti, na opominjanje i odvraćanje od grijeha i zemaljskih slabosti, Frankopan se, iako je pokazao da je itekako religiozan, izdvaja svojom poezijom u kojoj slavi život, mladost, ljepotu žene i tjelesne užitke. Slaveći ljubav, tjelesnu ljepotu i putene užitke, Frankopan zapravo promišlja smisao života, položaj čovjeka u ovom svijetu, odnos ovozemaljskog i onozemaljskog, tjelesnog i duhovnog, stavljajući tako svoje pjesništvo u službu otkrivanja prave istine ovoga svijeta i upućivanja na pravu narav i izvor ljepote.he paper explores where Fran Krsto Frankopan, in his description of woman’s beauty and his own experience of love, approaches Petrarchism, and where, and to what extent, from an aesthetic perspective, he adopts Platonic and Neoplatonic concepts of beauty and love. Frankopan’s poetic work is a proof of his significant contribution to the development of baroque aesthetic thought in the continental Croatia. At the time when works with religious, moral and didactic content, focusing on religious themes, highlighting piety and virtue and warning about sin and worldly weaknesses, dominated cultural and public life and literary works in continental Croatia, which found itself in a very difficult position caused by long-lasting wars and unfavourable political conditions, Frankopan, even though he showed himself to be very religious, stood out with his poetry celebrating life, youth, the beauty of women and sensuous pleasures. In this way, Frankopan actually reflects on the meaning of life, the position of man in this world, the relationship of the earthly and the ethereal, the physical and the spiritual, thus putting his poetry at the service of revealing the truth of this world and the true nature and source of beauty

Polemics about Secession in Croatia: Franjo Ksaver Kuhač and Ivo Pilar

U članku se izlažu osnovni nazori i stavovi o secesiji u Hrvatskoj koje su 1898. godine u svojim spisima iznijeli Franjo Ksaver Kuhač, zastupnik tradicionalnih i Ivo Pilar, pobornik modernih estetičkih i umjetničkih tendencija. Kronologija njihove polemike odvijala se na sljedeći način: nakon Kuhačeva spisa Anarkija u hrvatskoj književnosti i umjetnosti. Poslanica umjetničkim secesionistima i književnim dekadentima, Pilar je objavio studiju Secesija. Studija o modernoj umjetnosti, poslije čega je Kuhač reagirao tekstom O secesiji. Odgovor gosp. J. Pilaru. Novoj umjetničkoj struji Kuhač se žestoko protivio, dok je Pilar napisao apologiju modernoj umjetnosti. Na temelju analize njihovih stavova i argumenata, u članku je ponuđen uvid u hrvatsku estetičku problematiku s kraja 19. stoljeća.In this article two opposed views of the Secession in Croatia are contrasted. Franjo Ksaver Kuhač was a representative of the traditional approach to aesthetics. On the other hand, Ivo Pilar was a promulgator of modern aesthetic and artistic tendencies. Chronology of their controversies took place in the following way: after Kuhač’s text The Anarchy in Croatian literature and art. An epistle to the artistic secessionists and literary decadents, Pilar published a study entitled On Secession. A study of modern art. To this text Kuhač replied with his text On Secession. An answer to Mr. I. Pilar. In his articles Kuhač vehemently opposed the new artistic tendencies, whereas Pilar was apologetic for the modern art. Based on an analysis of their views and arguments, the article offers an insight into Croatian aesthetic problems of the late 19th century